Step in Step out

Step in Step out - workshop piece exploring the nature and practice of free improvisation in music.

The video playlist above walks the talk through the text below "Step in - step out".

Contents

Introduction

Description 1; part 1; Step in for quartets

Description 2; part 2: Step out for quartets

Description 3; part 3: Step out & step in for quartets

Timeline

Quick thoughts & what is new

Extreme additional rule

Correspondance

Introduction:

Hello, this is the first draft of a workshop session piece [ what is the correct terminology ] it awaits peer review and comments. The musical genre is “free improvisation is music” The workshop piece is called - Step in - Step out.

Key concepts

Only three players can be in `free play` mode at any one time

`Free play` indicates the musician is playing, making sounds.

`Tacet`indicates the musician is not playing, not making sounds, nor is the equipment.

Description 1; part one; Step in for quartets

There are four players - improvisers - in the piece

Three players start playing, the fourth is in tacet mode

Step in: The fourth or player in tacet mode can enter into “free play” mode at any time, at this moment one of the three musicians in “free play” mode has to stop: become tacet.There is no set methodology to manage the process by which one of the musicians ceases to play, they have to manage this on the fly.

The process repeats

The player in tacet mode can enter into free play mode ( or not ) whenever they wish too.

PM POV - step in ( his name ) has been in his workshop repertoire for improvisers for 20-30 years: and he assumes others too. There are variables to this design, eg more players.

Description 2; part 2: Step out for quartets

There are four players - improvisers - in the piece

Three players start playing, in free play mode, the fourth is in tacet mode

Step out: One of the musicians in Freeplay mode steps out of the piece, becomes tacet: at this moment the musician in tacet mode has to join in, become active in free play mode.

There is no set methodology to manage the process by which one musician ceases to play.

The process repeats

The players in free play mode can exit free play mode become tacet whenever they wish too.

Step out: was introduced to the design by Jon Aveyard ( Uclan) during a “step in” session.

Description 3; part 3: Step out & step in for quartets

To do both, step in & step out, at the same time creates an added complexity

Timeline

To work with a set time limit.

P Morton POV ( point of view ) is a set time of six minutes. This requires a timekeeping device & audible signal.

This is not a rule, the participants can run the timeline as they decide at the time

Quick thoughts & what is new

The improvisers may employ strategies and tactics as a response to the design of step in & step out.

The improvisers may employ musical ideas, aesthetics, as a response to the design of step in & step out rather than cognitive strategies and tactics

PM POV - the small number, a quartet, has a distinctive feel and is very focused.

PM - having done “step in” as a workshop piece for many years, the addition of step out, repeating both steps in and step out during the same session brings a very interesting dynamic and intensity. It becomes more than the sum of the two parts.

Part 2 - step out - introduces, the use of silence to shape a piece: an interesting twist in the improv workshop circuit IMHO.

Be aware, in part two, the musicians in tacet mode is obliged to start playing when an active player/musicians exit free play mode.

PM is unsure about part three. It is extreme

Extreme additional rule

To do step in & step out blindfolded.

Thus removing visual clues.

Attentive listening moves to another level.

1st delivery of the complete cycle as described, without the blindfolds!

Jigsaw 4 Preston June 2017

And…

Other historical notes to follow...pm

Correspondance

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

1 comment

Step - out Jigsaw-Bangor July 19th 2018. `Step out` was done as a trio., when I experienced the following: The other two player, Russell Grant and David Hopewell, are playing, they are playing well consistently and then there are moments, I want to join in. The `joining in` brings together; emotional responses, private aesthetic preferences and instrumental - sound - preferences our choices within Mr Morton. BUT in the `rules` or design of the exercise I cannot join in until one players stops. Thus I remain tacet, the exercise confronts this free improviser that I do not always; have to be playing, express everything all of the time, play anything or play something specific on all occaissions: Less is more maybe a cognitive agreement or consideration, it is of interest to me, that in this instance it was not cognitive but visceral, physical and emotional. I remained tacet. I return here to the concept, `it is an imperative to have a relationship with your emotions rather than to be controlled by them`. I speculate, the frequency of meeting these decision points, or emotional junctions, moves one more to the relationship state and away from the intuitive-auto response state. I prefer the former and visit the later intuitive mode too. This is maybe a one-off, one person experience, myself I welcome this `push back` the exercise threw up into my ears: just wait, good things come to those who wait. To be continued.